Munawar Faruqui has been entertaining audiences with his satire routines for over a year. Photo: Special Arrangement/THE HINDU
Out on bail, the stand-up comedian is dusting himself off and moving on, strengthened by poetry and rap music
The year began on a serious note for stand-up comedian Munawar Faruqui, when he was arrested for allegedly offending religious sensibilities, along with five others, just before he was about to begin his act at a café in Indore, Madhya Pradesh. Munawar spent 37 days in jail until the Supreme Court granted him interim bail on February 5.
While the comedian in him does see the absurdity in the situation — “they caught me even before I said anything,” — the 27-year-old YouTube sensation is astute enough to not discuss the matter further as it is sub judice.
“I don’t want to revisit this experience ever again in my life, and I wouldn’t want to send my worst enemies to jail. But I don’t really want to talk about it, especially on social media,” he says over a video conference call from his home in Mumbai.
Munawar got back to work barely a fortnight after his ordeal, releasing a music video titled Aazmaish featuring rapper Nazz, which earned over a million views online.
“Quitting comedy was never an option, mainly because I didn’t want to prove my detractors right,” says Munawar. “I was hurt by this whole false narrative that they had started about my ‘guilt’ that would have got confirmed, if I gave in to the pressure.”
In April, he started a new YouTube channel called Munawar Faruqui 2.0 that already has over 50,000 subscribers. (His first official channel has over 10,80,000 subscribers with 57,594,259 views for his monthly video releases).
It is hard to believe that Munawar has been on the comedy scene only since January 2020. His first ticketed show opened in Mumbai in February last year, to rave reviews. His sidelong look at society and politics is sharp and funny, with unexpected depth. “Comedy is essentially saying what you feel, especially about things that you see daily,” he says. “Sometimes a joke can highlight a major truth.”
When he is not penning his biting satirical comedy routines, Munawar indulges in his other passions: Urdu poetry and rap music. “Music is the world’s best art form. A song can convey in minutes, what a story can take four hours to narrate,” he says.
A resident of Dongri in Mumbai, the comedian is originally from Junagadh in Gujarat. After a tumultuous time in their hometown, his father, a driver, shifted the family (Munawar and his three sisters) to Mumbai in 2007, to make a fresh start.
“My father fell sick and was bed-ridden from 2008, so I had to take charge from the age of 17. I worked at a utensil store from 2007, while attending school. I taught myself English and Hindi from the newspapers that my boss used to buy, and by watching films,” he says.
Becoming a stand-up comedian wasn’t easy, though. Struggling with rejections, Munawar released his first video on YouTube on January 24, 2020 titled Politics in India, that marked his breakthrough moment.
“Last year has been testing. I lost my father in February, but also got my first shows in Mumbai, the same month,” he says.”There have been days I’d be crying in the green room just before being called up to the stage.”
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Theatre / by Nahla Nainar / June 02nd, 2021
Born on 21 October 1933, Shakeb grew up in Hyderabad and Aurangabad . He received a BA in Political Science from the Osmania University , and an MA from the Aligarh Muslim University in 1956. He completed his doctorate on Relations of Golkonda with Iran from Deccan College in 1976.
Shakeb together with Vasanth Kumar Bawa, setup the first-ever Hyderabad Urban Development Authority which is now referred to as Hyderabad Metropolitan Development Authority.
In 1962, he was appointed as an archivist at the State Archives of Andhra Pradesh in Hyderabad. Whilst here he created the Mughal Record Room. His publications include Mughal Archives Vol I: A Descriptive Catalogue of the Documents Pertaining to the Reign of Shah Jahan, in 1977 which remains critical reading for those seeking to learn how to read administrative documents in Indo-Persian. He went on to write many publications for The British Library , State Archives Andhra Pradesh and other repositories, universities, and auction houses.
From 1980 to 1987, Shakeb taught Indian history and the history of Indo-Islamic art and culture in the Department of Indology at the School of Oriental and African Studies, University of London.
He later on worked as a consultant for Christie’s in their department of Islamic and Indian Art as their leading expert on Persian and Arabic manuscripts for 30 years.
He also continued to work on Indo-Persian manuscripts and Mughal documents and catalogued such manuscripts in the British Library, such as the Batala Collection of Mughal Documents 1527-1757 in 1990. Throughout this time he supervised many doctoral researchers in the fields of Mughal history, Deccan studies and Urdu and Persian literature.
Shakeb was also the Director of Urdu teachers training at Middlesex University up until 1998.
He also played a key role in setting up the Haroon Khan Sherwani Center for Deccan Studies at Maulana Azad National Urdu University and had been a member of the center’s first advisory board. He was considered a pioneer, having helped lay the foundations of Deccan Studies
Shakeb was an authority on various poets from the Indian subcontinent and Persia, writing books and organising and speaking at conferences on Bedil, Amir Khusrau, Iqbal, Ghalib and Rumi .
Shakeb died in London on 20 January 2021, aged 87. He is survived by his wife, Farhat Ahmed, two daughters, a son and nine grandchildren.
source: http://www.indianmuslim.org.uk / Indian Muslim UK / Home> Obituary / by Mohmed / April 03rd, 2021
A file photo of Prince Anjum Qudr, Dr Kaukub Quder Sajjad Ali Meerza and Prince Nayyar Qudr posing for a photo with Meerza’s daughter, Manzilat Fatima, at Imambara Sibtainabadin Metiabruz, Kolkata, sometime during 1985-1986
Kolkata / Lucknow :
Kaukub Quder Sajjad Ali Meerza, the great-grandson of Awadh’s last monarch, Nawab Wajid Ali Shah, and grandson of Nawab Birjis Quder, died of Covid-19 in Kolkata on Sunday afternoon, aged 87.
Considered an authority on Wajid Ali Shah’s literary and cultural contributions, he is survived by his wife, two sons and four daughters.
Meerza may be buried on Monday at the royal burial ground(Gulshanabad Imambara), about a kilometre from the Sibtainabad Imambarah in Metiabruz, where Wajid Ali Shah rests.
A popular figure in the billiards and snooker fraternity of the country, Quder had graduated with honours in economics from St Xavier’s College in the same batch as Amartya Sen. He studied political science and then a three-year law course.
Subsequently, he studied Urdu at CU, won a silver medal in 1962 and also earned a UGC Junior Fellowship for research on the “Literary & Cultural Contributions of Wajid Ali Shah” in the department of Urdu at Aligarh Muslim University. In 1967, he joined the department as a lecturer and earned a doctorate for his thesis.
Kaukub Quder Sajjad Ali Meerza’s daughter, Talat Fatima, is now translating his book from Urdu to English. “His research was extremely rich. This book, published in the late 70s, has a compilation of some 42 works of Wajid Ali Shah. Some of them are in Persian,” she said, adding that her father preferred to be addressed as “Dr Kaukub Quder Sajjad Ali Meerza” instead of using the title of a prince.
It was his academic interest in his forefather that had also got Satyajit Ray to get in touch with him during the making of “Shatranj ke Khilari”.
On Ray’s birth anniversary this year, his daughter, Manzilat , had tweeted: “There are a couple of letters that were exchanged between Bawa [her father] and Satyajit Ray during the making of Shatranj Ke Khilari.” On Sunday, she spoke about how Ray had even visited their 11 Marsden Street residence that is popularly known as ‘House of Awadh’. “Ray could have gone to anyone else for information. But he chose to get in touch with my father. In fact, he had made many attempts to meet my father but the meeting never happened. Hence, it was through correspondence that he got the information regarding Wajid Ali Shah. I feel Ray had portrayed Wajid Ali Shah in the right light. Many often claim that Wajid Ali Shah had been exiled, but that isn’t true. He had left the kingdom of his own volition. I believe my father’s information helped him give authentic information about Wajid Ali Shah,” she said.
Quder was also a great connoisseur of food. A big photograph of him along with his two brothers hangs in the rooftop restaurant opened by his daughter. “He was happy when he saw how, in my capacity, I was upholding the family name. Awadhi food was already losing its identity. He was happy I was making the effort to popularize that food,” Manzilat said.
Incidentally, he was the chief referee of first World Snooker Championship held at the Great Eastern Hotel in Kolkata in 1963-64. He had remained the chief referee of the National Billiards & Snooker Championship till it left the Palm Court of the Great Eastern Hotel in the 70s .
“It was my father who coached me to play snooker and billiards. I became the first woman participant from India to play the games at the national level,” said Manzilat.
The rolling trophy of the IBSF World Snooker Championship, the MM Baig Trophy, was designed by him. In the 70s, he had also brought out a pioneering Billiards magazine, “The Baulkline”.
According to his son, Irfan Ali Mirza, “He was the founder-secretary of The Billiards & Snooker Federation of India, The West Bengal Billiards Association and The Uttar Pradesh Billiards & Snooker Association.
Sudipta Mitra, the chief executive officer (CEO) of Peerless Hospital and a student of Meerza, describes his mentor’s demise as a “huge loss”. “A part of our cultural history is lost with his demise. He came with pneumonia and was admitted to the ICCU. Unfortunately, he passed away today afternoon due to Covid pneumonia. Jawaharlal Nehru had initiated the idea of the government of India bearing the expense of his education. He was my research guide while writing the book titled ‘Pearl by the River: Nawab Wajid Ali Shah’s Kingdom in Exile’,” Mitra said
The Peerless Hospital CEO, said according to his research, he was “the last royal pension holder”. “In 1892, the British government had created a royal pension book where only the lineage of Birjish and his wife, Mahtab Ara Begum, who was the granddaughter of Bahadur Shah Zafar, the last Mughal Emperor of India, was recognized.
Birjish, who was the only son of Wajid Ali Shah and Begum Hazrat Mahal, was the eldest surviving son of Wajid Ali Shah when the latter died in 1887. That is why this lineage has been recognized for royal pension,” Mitra said.
source: http://www.timesofindia.indiatimes.com / The Times of India / Home> News> City News> Kolkata / by Priyanka Dasgupta and Yusra Husain / TNN / September 14th, 2020
The nawab, who was deposed by the British, came to plead his case with Governor General Lord Charles Canning, only to be imprisoned at Fort William.
Nawab Wajid Ali Shah (Photo| Wikimedia Commons)
Kolkata :
Some 165 years ago, in the month of May, Nawab Wajid Ali Shah — the last ruler of Awadh — is believed to have written the now-famous lament “Babul Mora Naihar Chooto Jai…Mein Chali Piya ke Des” (O father, my home I leave behind…I go to my beloved’s land), as he made his way to Kolkata to live the next 31 years of his life in exile.
The nawab, who was deposed by the British, came to plead his case with Governor General Lord Charles Canning, only to be imprisoned at Fort William as the East India Company feared that he may turn into a rallying point for sepoy mutineers during the first war of Indian Independence, which broke out the very next year.
After he was freed two year later, Wajid Ali and many from his court who chose to join him in exile decided to live in his ‘Piya ke Des, gifting a legacy of music, dance, Urdu poetry, fashion and fusion cuisine to the syncretic culture of the metropolis.
“My great, great, grandfather Wajid Ali Shah, who landed here by steamer on May 13, could have chosen to live anywhere after he was freed…but he chose this city. We believe he fell in love with its culture and found remnants of his beloved Lucknow in Metiabruz or Matiaburj where he chose to settle,” said Shahenshah Mirza, 54, a civil servant and a history buff.
The nawab, over the years, built some 18 palaces and the landmark Sibtainabad Imambara in Calcutta, but his descendants live scattered as the British demolished the palazzos on one pretext or the other.
Mirza and his father, 86-year-old Sahebzada Wasif Mirza – the president of the Awadh Royal Family Association — now live in a modest though stately old house at Talbagan Lane, off Dargah Road, in the heart of the eastern metropolis.
“Just 500 of his followers came with him in 1856, but as news spread that he was building a Lucknow-like city within a city, at Metiabruz in Calcutta, many of his nobles, artisans and musicians followed and flourished here,” said Mirza.
Though much of the original mini-city which Wajid Ali built was taken over for Garden Reach shipyards, Metiabruz still exists and is now famous as a garment tailoring hub — reportedly accounting for Rs 15,000 crore worth of textile trade a year — mainly on account of the skilled tailors who came here as part of the Nawab’s entourage.
Wajid Ali, who used the pen name “Akhtarpiya” for his poetry, prose and thumris, was a known patron of arts, and with the destruction of Mughal cities in the aftermath of the 1857 revolt, Kolkata subsequently became the new cultural capital, attracting talent from all over north India.
As time progressed, Bengal’s zamindars and rich ‘bhadraloks’ (gentlemen) enthusiastically developed a taste for the Nawab’s leisure activities ‘mujra’ (music and dance soirees), kite-flying and pigeon games (kabootar baazi). “Even today some 3,000 people are engaged in the business of making kites in this city,” explained Mirza.
The nawab introduced the citys elite to Thumri, Dhrupad and Kathak. “Singers and dancers of the calibre of Bindadin Maharaj, Piyari Sahab, Gauhar Jaan, Malka Jaan, Jauhar Jaan came to settle here…Kolkata opened up to Kathak and thumris,” said well-known Shantiniketan-based musicologist Rantideb Maitra.
This, in later years, influenced the film industry and the dance and music forms became part of the pan-Indian culture.
The song ‘Babul Mora’ itself was popularised by Kolkata-based music director Rai Chand Boral when he got Kundan Lal Saigal to sing it for the movie ‘Street Singer’ in 1938, nearly 80 years after it was written.
“Kathak, though it started as a temple dance, had taken a stylised form under the Mughal patronage. When brought to Kolkata by Wajid Ali, who himself often danced as Krishna, it blossomed into a popular classical dance form,” said Shyam Banerjee, another musicologist and Urdu translator.
However, if the average Kolkatan remembers the Awadh ruler with fondness, it is because of the gastronomic legacy he left behind.
Said Manzilat Fatima, another of Wajid Ali’s descendants from his junior begum, Hazrat Mahal — who led mutineers in Lucknow and eventually escaped to Nepal — “He (Wajid Ali) tried to recreate Lucknow but with a difference…(among other things) his kitchen became an experimental centre for new dishes.”
Fatima (53), who runs the up-market restaurant Manzilat’s explained that experiments led to the inclusion of potato — then a rich man’s exotic vegetable favoured by Europeans — and eggs to Awadh’s Biryani. “New spices, coconut milk, mustard oil, all went into the making of Awadhi dishes and the result was the unique dum-pukht Kokata Biryani, now so popular all over,” she said.
The Nawab also set up a printing press in Metiabruz and came out with a weekly gazette in Urdu, adding to the literary and journalistic tradition of the city, which boasts of being the cradle to some of India’s oldest newspapers.
“We feel he was more popular in the city he chose to make his own than in Lucknow…When the legendary filmmaker, Satyajit Ray, asked my father how he saw Wajid Ali’s legacy, he had explained that it lives on, as is evident from the fact that ‘you chose to make your first Hindi movie – Shatranj ke Khilari – on a novel based on the the Awadh ruler’s life’,” added Mirza.
source: http://www.newindianexpress.com / The New Indian Express / Home> Kolkata / by PTI / May 23rd, 2021
When Arifa Kodiyil, a Muslim woman started learning Kalaripayattu at the age of five, it raised many eyebrows. Now, the five-time-national champion is an example to strong women who fight their ground.
Mallapuram,KERALA :
Arifa can effortlessly handle many weapons including, Urumi, Vaal and Paricha, katara (dagger), kathi, kuntham (spear), kuruvadi (blunt wood stick) and neduvadi.
Kochi :
Kalaripayattu, the traditional martial art form that originated in Kerala, has always been a man’s game. But veteran Kalari trainer, Hamzathali Gurukkal brought a change to this custom when he decided to introduce his five-year-old granddaughter Arifa Kodiyil to the artform. The Malapuram-native didn’t have a good start. A Muslim girl learning Kalari did raise many eyebrows.
Having turned 26 recently, hijab-clad Arifa slays her competitors, flashing her urumi with all might, following the footsteps of legendary warrior Arackkal Ayesha. “Growing up, I used to watch the men in my family practice and teach Kalari. I used to think everyone needed to learn Kalaripayattu. At the age of five, seeing my interest in the art form, my uppuppa decided to train me,” says Arifa.
Road less taken This five-time national champion was the first girl from Malapuram to master the art form. “Since I didn’t have any women to practice with, my brother Ashif used to spar with me. At most competitions too, I was the only girl, or rather, the only Muslim who represented Malapuram back in the day,” says Arifa.
After the demise of Gurukkal Hamzathali, his son K M Haneefa Gurukkal runs the Hamzathali Gurukkal Smaraka Kalari. “When Arifa was introduced to Kalari lessons, many people from the community asked us to not let her perform on stage, that Kalari is not ideal for a woman to practice. We, as a family never paid heed to those words. We always asked our kids not to get bogged down by the comments,” says Haneefa.
The ones who pointed fingers soon clapped for the family when they realised the importance of self-defence techniques. “We are living in a time when both genders need to know how to protect themselves. More parents have started sending kids in the age of four to our centre,” adds Haneefa.
A woman’s game Arifa believes it is essential for women to learn martial arts. “In the women-only batch, around 50 girls are being trained at the gurukulam by my father, sister Anshifa, and me,” says Arifa.
Arifa claims that if you know the right moves, a woman can use anything — bag, umbrella, pen or purse — to protect herself. “After undergoing training in ‘Drishti’ a woman will be able to intimidate an attacker or an eve teaser with just a sharp gaze,” says Arifa.
Arifa can effortlessly handle many weapons including, Urumi, Vaal and Paricha, katara (dagger), kathi, kuntham (spear), kuruvadi (blunt wood stick) and neduvadi. Kalaripayattu trainees can wield weapons only after gaining several years of practice in Meytaari, the first step of training which focuses on grip.
Eyes Forward Arifa, an optometry graduate is now living with her spouse in Chekkannor, Palakkad. Her sister, 21-year-old Ashifa, manages the women’s batch. Arifa steps in during special classes and competitions. “My students bagged gold at the recent state competition held in Thiruvananthapuram. Due to Covid, classes are being now conducted online. The training for the upcoming national event is underway,” said Arifa.
The Central Government’s decision to include Kalaripayattu in the Khelo India Youth Games will benefit many students, says Arifa “It will be a major boost to Kerala’s centuries-old art form. A few of my students have secured scholarships as well,” says Haneefa.
source: http://www.newindianexpress.com / The New Indian Express / Home> Good News / by Mahima Anna Jacob, Express News Service / May 29th, 2021
Born in 1858, Begum Sultan Jahan ascended the throne in 1901. While she was the fourth female ruler of Bhopal, she is credited with many firsts. She was known for ruling in the present with her eyes set on the future. Her progressive policies for women, at a time when they were shackled by the forces of patriarchy, have made her a feminist icon even today.
Begum Sultan Jahan was a pioneer in the field of education and even authored a book, Dars-e-Hayat, about the education and parenting of young girls.
Nearly a century ago, when the term feminism was not yet part of common parlance, the princely estate of Bhopal was run by a line of powerful women. In the absence of male successors, they initiated a matrilineal reign from 1819, which continued till 1926. These rulers are often referred to as the Begums of Bhopal.
During this era, they ruled with authority, dignity and bold reforms — disrupting the patriarchal system that had been laid down centuries before them.
The last Begum of Bhopal was Begum Sultan Jahan. She ruled from 1909 to 1926 after which she stepped down and was succeeded by her son.
Begum Sultan Jahan died on May 12, 1930 at the age of 71. She was known for ruling in the present with her eyes set on the future. Her progressive policies for women, at a time when they were shackled by the forces of patriarchy, have made her a feminist icon even today.
Apart from being a philanthropist and prolific writer, she was a symbol of women empowerment, known for taking up the cause of female education. She was the first female Chancellor of Aligarh Muslim University, which she had nurtured during its nascent stage, when it was still known as the Mohammadan Anglo Oriental College.
In a time when it was rare for women to venture out due to a strict purdah system, she famously constructed a Meeting Hall for Ladies in Lahore.
But above all, Begum Sultan Jahan was an astute ruler who restored the glory of her estate.
It is hard to find a female ruler who authored over 40 books, designed school curriculum, founded women’s clubs, travelled to Europe, met British officials with authority, funded almost all major institutions — both in the country as well as one in Saudi Arabia — and even headed a University as its first female Chancellor.
Interestingly, film actress Sharmila Tagore is the granddaughter-in-law of Nawab Hamid Ullah Khan, the youngest son of Begum Sultan Jahan.
Begum Sultan Jahan, the ruler of Bhopal
Born in 1858, Begum Sultan Jahan ascended the throne in 1901. While she was the fourth female ruler of Bhopal, she is credited with many firsts.
She was not one to stand on the sidelines. An incident from the early days of her regime is often cited to highlight her penchant for ruling from the front. When she took over as Queen, there was only Rs 40,000 in the treasury which was not enough to even pay the salary of her employees. Begum Sultan Jahan decided to tour her kingdom and interact with the village folk. After learning their concerns, she set up the municipality system and even introduced municipal elections.
She also constructed a walled city and a palace for herself. She took steps for improving public health, sanitation, and water supply in the walled city and implemented widespread vaccination drives for its residents.
Apart from being a philanthropist and prolific writer, she was a symbol of women empowerment, known for taking up the cause of female education.
Recognising that women needed a space exclusively for them to assemble and discuss ideas, she laid the foundation stone for a meeting hall in Lahore in 1913.
To encourage women and promote handicrafts, she organised an exhibition called ‘Numaish Masunuaat e Hind’ in Bhopal, where she displayed her own creations. Queens from other kingdoms, such as Gwalior, Jhanjhar, Sultanpur, Narsinghgarh and Gulburgah also participated and displayed their handiwork.
Begum Sultan Jahan as an educationist
She was a pioneer in the field of education and even authored a book, Dars-e-Hayat, about the education and parenting of young girls. There was a time when almost every city of the country had one or more educational institutes for girls which were funded by Begum Sultan Jahan.
To encourage parents to educate their daughters, she set up several schools. However, most initially resisted the idea, as at the time it was considered socially acceptable to teach their daughters at home.
Undeterred, she started the Sultania School and also improved the condition of two existing schools — Madarsa Bilqisia and Madarsa Victoria. She even revamped the syllabus and added subjects such as English, Urdu, Arithmetic, Home Science and crafts. These schools were meant for underprivileged children and hence their expenses were borne by the Bhopal estate. Even in those times, she got the Madarsa Sultania affiliated to the Allahabad Board. This Madarsa was well equipped and even had an ambulance and sections for medicine and nursing. Later she also started a nursing school called Lady Minto Nursing School.
Begum Sultan Jahan did not solely focus on uplifting Muslim girls. She famously founded the Barjeesiya Kanya Paathshala’ and even instituted a scholarship for the underprivileged students of Jain Shwetambar Paathshala.
Despite being a small princely estate, Bhopal had an education budget of one lakh rupees. The educational institutions she supported were not confined to Aligarh alone. She was also funding a Madarsa in Deoband, Nadwatul Uloom in Lucknow and even Madarsa Sultania in Mecca, Saudi Arabia. Institutions such as Lady Hardinge Medical College, Delhi and some renowned colleges in Bombay (now Mumbai), and Calcutta (now Kolkata) received generous grants from her.
Begum Sultan Jahan established the Ladies Club in Bhopal with the aim of involving more women in her mission. She addressed the functions of the Ladies Club. Later, she even organised an event under the aegis of All India Women Association in Sadar Bhopal and established the Sultan Jahan Endowment Trust with a corpus of Rs three lakhs for helping needy students.
Begum Sultan Jahan also went as far as encouraging the rulers of other princely states to promote education. Even Lord Harding praised her efforts.
She authored 41 books, many of which were distributed for free. She also translated a number of English books into Urdu.
Begum Sultan Jahan and AMU
Around that time, more than 600 kilometres away from Bhopal, in the province of Uttar Pradesh, the Mohammedan Anglo Oriental College was taking shape in Aligarh.
In 1910, while returning from Mussoorie, she stayed in Aligarh for the first time. During her visit, she donated Rs 50,000 for the construction of the All India Muhammadan Educational Conference, which still exists today and is known as Sultan Jahan Manzil.
A monthly grant of Rs 100 was sanctioned by her for the girls school started in Aligarh by Sheikh Abdullah, which is now known as the Women’s College of AMU. She designed the syllabus herself and offered it to the school authorities. It was done at a time when there was a paucity of funds and women ’s education had taken a backseat. Later, when MAO College became AMU, she was named its first Chancellor.
During AMU’s centenary celebrations on December 22, 2020, Prime Minister Narendra Modi paid tribute to Begum Jahan and her contribution to the historic institution — “The AMU has the rare distinction that Begum Sultan Jahan took over the responsibility of its founder chancellor. How daunting it would have been one hundred years ago!”
In 1910, she stayed in Aligarh for the first time. During her visit, she donated Rs 50,000 for the construction of the All India Muhammadan Educational Conference, which still exists today and is known as Sultan Jahan Manzil.
As Chancellor of the AMU, she addressed its first-ever convocation ceremony in 1922 amidst renowned scholars from across the country. She also arranged cars and lodging for 175 persons during the jubilee ceremony of the University. Begum Sultan Jahan visited Aligarh seven times, with her last visit being in 1929.
Her speech during the foundation stone laying ceremony of Sultania Boarding House in Women’s College reflects her vision. She said, “Today is the beginning of a new era in the history of Muslims. And, whenever, in the coming time, the history of this era is recorded, today’s programme will be remembered as one of its brightest chapters.”
Her prophecy came true. The school patronised by Begum Sultan Jahan has grown into a college drawing over 3,095 female students from across the country and overseas enrolled in 34 courses taught by 107 faculty members.
The women’s college attracts international students from more than 20 countries including, Afghanistan, Malaysia, Turkey, Thailand, Indonesia, Iran, UAE, Iraq, Yemen, Bangladesh, Libya, Nepal, Syria among others.
The Nasrullah Hostel for Boys in AMU, too, was constructed with her support. It is often said that whenever AMU needed help, Begum Sultan Jahan of Bhopal Estate was among the first to step up.
Following in her footsteps, her son Hamidullah Khan, who studied in Aligarh, founded a Science College in the city, and donated Rs two lakh to it.
(Nasir is Assistant Professor, Department of Law, Aligarh Muslim University; Fareed is Media Advisor, AMU)
source: http://www.indianexpress.com / The Indian Express / Home> Lifestyle> Art & Culture / by Faisal Fareed & Mohammad Nasir (Aligarh, UP) / May 27th, 2021
The young poet represents an unapologetic Miya voice, one that the state’s new chief minister has described as a threat to Assamese identity and culture.
Ashraful Hussain (Twitter/Ashraful Hussain)
In an act of poetic justice, the people of Chenga, a constituency in lower Assam, have sent AIUDF’s Ashraful Hussain, a young Miya poet, as their representative to the newly elected Assam assembly. He is only one of 126 MLAs but the significance of his presence is that he represents an unapologetic Miya voice — one that the state’s new chief minister Himanta Biswa Sarma has declared as a threat to the Assamese identity and culture.
It has been said that the organisational skills of Sarma forced the BJP to prefer him as the new chief minister over the outgoing one but his brazen anti-Muslim and anti-Miya stance in the last five years can be a reason as well. He has openly said that his party did not want votes of the Miya Muslim community and that he wanted another NRC to identify these “outsiders”.
Ashraful Hussain’s victory has to be understood in this context. The word “Miya” is a slur used to describe Muslims who migrated from East Bengal to Assam over several decades, starting from the 19th century, and who live on the Char Chaporis (shifting riverine islands) of Assam. But Ashraful and his fellow poets have reclaimed it and turned it into a badge of honour. A poem written in 2016 by Hafiz Ahmed, the president of the Char Chapori Sahitya Parishad, took Assam by storm and inspired fellow poets. He wrote, “Write down/I am a Miya/My serial number in the NRC is 200543/I have two children/Another is coming/Next summer. /Will you hate him/As you hate me?”
Younger voices like Ashraful Hussain found courage in these plain words of their elder. “Who are they? Why can’t they be allowed to speak and sing the way they do? Ashraful writes: “And though I was born in Assam and pride in/Calling myself an Assamese/The language doesn’t slide down my tongue/My father wears a blue-checked lungi/My mother wears a saree/My sister wears mekhela or churidar/And me, brother, I wear jeans pants.”
For this audacity to make themselves visible and lay a claim for a space in Assam’s cultural landscape, the Miya poets had to pay a price. In 2019, FIRs were lodged against them and they had to go into hiding. I recall a meeting at the Press Club in Delhi organised by the writers of Delhi in their support. Ashraful was supposed to read his poems there but he could not come.
These were the charges against them: The Miya poets were writing in an artificial language, there was nothing like a Miya dialect and they were fracturing the Assamese identity. The truth was that the Miya poets had broken the myth of one single Assamese voice. The people of the Char Chapori use dialects of Mymensingh, Pabna, Tangail, and Dhaka, regions now in Bangladesh, with the influence of Assamese as well as other local languages of Assam.
The question before the people Ashraful calls “choruwa, bhatiya, immigrant shaykh, neo-Asomiya, Mymensinghia” in one of his poems was to describe themselves. Who are they?
Shalim Hussain, a Miya poet, asked, “So what do we call ourselves then? If and only if it is impossible for us to be known simply as Indians or Assamese let us be called ‘Miya’. The difference between Miya and Bangladeshi must be clearly demarcated.” He explained, “… in Assam Miya is a derogatory term used for a specific community — Assamese Muslims of Bengal origin. ‘Miya’ is a matrix within which fall descendants of people who migrated from Tangail, Pabna, Mymensingh, Dhaka, and other districts of present-day Bangladesh. However, there is a class angle to the equation too. An educated Bengal-origin Assamese Muslim who also speaks Assamese might be able to camouflage his ‘Miyaness’. Since I am university educated and speak decent Assamese, I might not be called a Miya, at least until I make it explicit. My cousin, on the other hand, who drives a cycle-rickshaw in Guwahati, will always be one. My class privilege might protect me from the feelings of disgust reserved for my cousin.”
So, it was not for a literary career but to identify with their lesser privileged brothers, who have to face this slur daily, that Ashraful and his colleagues decided to call their poetry Miya poetry.
Ashraful is a soft-spoken, shy person but he has with great grit and determination stood for those who are threatened by the process of the NRC. His poetry gave voice to his people but in the real world of democracy, they needed representation where it mattered. So, he decided to go to his people and ask them, “If he sings for them, can he also be given the authority to speak for them as their representative?” The people of Chenga overwhelmed him with their mandate. A greenhorn in politics, he defeated AGP’s Rabiul Hussain and Sukur Ali Ahmed, a longtime sitting Congress MLA, by more than 50,000 votes.
In the assembly, he will take oath as the representative of his people after the man who wants them disenfranchised takes oath as the Chief Minister. Ashraful Hussain will have the company of his poetry to respond to the violent politics of erasure: “I have grown a bud and two leaves on my hands/I have learnt to write two lines/I have learnt to open my mouth and say/… In the name of my mother who died/In a detention camp, I swear/That this voice in my throat will grow louder/And some day rustle the folds in your ears. /I swear sir, I swear by my dead mother.”
Let us thank the people of Chenga and celebrate this vote for Miya poetry.
source: http://www.indianexpress.com / The Indian Express / Home> Opinion> Columns / by Apoorvanand / May 13th, 2021
The Aishbagh Eidgah, which is the biggest Eidgah in Lucknow, will now double up as a COVID-19 vaccination centre. This will be the first religious establishment in the state capital which will be providing jabs against COVID-19 to the people. Till now vaccines were being administered only in hospitals in Lucknow. Two inoculation centres — one for ages 18-44 and another for people aged 45 and above — have been set up at the Eidgah.
Beneficiaries of all age groups above 18 years, who have registered on the CoWin portal, will be able to get the jab here. The officials of the All India Islamic Centre will also be assisting people with online registration for getting the vaccine shot. The nodal officer for COVID-19 in Lucknow, Roshan Jacob, reached Aishbagh Eidgah on Thursday to take stock of the preparations. “It is a very good initiative that has been taken by the Islamic Center. This will facilitate the people to get vaccinated,” she said.
Meanwhile, Imam Idgah, Lucknow and Chairman of Islamic Center of India, Maulana Khalid Rashid Farangi Mahli said, “People should keep in mind that along with precaution for prevention of epidemics like COVID-19, the best and most effective thing is vaccination. Lucknow has a lot of population, especially old Lucknow. Keeping in mind the population, two centres have been made at the ground of Eidgah. One center is for people between 18 years to 44 years and one center is for people aged 45 years or more.”
“The huge space here helps in maintaining social distancing and also lowers the risk of transmission of infection. There are a lot of people who are unable to register themselves for vaccination, our team at Islamic Centre of India will help such people in getting themselves registered online for the jab,” he added.
Meanwhile, the fresh cases of COVID-19 infection continue a downward trend in Uttar Pradesh as 6,725 new infections were reported in the last 24 hours. Additional Chief Secretary (Health) Amit Mohan Prasad said 13,590 patients were discharged in the last 24 hours, while there were 11,6434 active cases in the state. Of these, 82,801 were in infected home isolation. The recovery rate in the state has risen to 91.8 percent. The positivity rate in the state has come down to 2.4 per cent, while 238 corona-infected people died in the state. In the last 24 hours, 2,91,156 samples were investigated in the state.
still from Insha Allah | Photo Credit: Special Arrangement
SPP Bhaskaran’s ‘Insha Allah’ now awaits a theatrical release after doing the rounds at film festivals
“Insha Allah is dedicated to the late Jabaramma,” says director Seerkatchi Pakhil Pandian (SPP) Bhaskaran, with a tinge of sadness in his voice.
Jabaramma ran a mess at the scenic Pillayarpuram near Coimbatore, the location where he shot his film. “She served all three meals for my entire team during our 30-day shoot there. I wrote a character based on her during my stay there, and even nudged her to play the role. Although she was shy to face the camera, Jabaramma learnt acting at a workshop done by the late Arunmozhi and his team during our shoot, and she performed confidently,” recalls Bhaskaran.
Insha Allah made it to the official selection in over 30 international film festivals, and won as many as seven awards for direction, cinematography, and other categories. “The reception has been overwhelming, especially at the Ubud International Film Festival and Accolade Global Film Competition,” he says.
An outsider’s perspective
Though Bhaskaran had to trim its runtime to 84 minutes for an international audience, he has now had the luxury of retaining some of the omitted scenes for theatrical release. “We were all set [for release] after we got the Censor Certificate. We timed it as an Eid release, but now because of the second wave we have to wait and watch,” he adds.
SPP Bhaskaran | Photo Credit: Special Arrangement
Insha Allah follows the happenings in a middle-class Muslim society, and is inspired from the short stories of authors Thoppil Mohammed Meeran (AnbirkkuMuthimai Illai) and Firdous Rajakumaran (Ranam). It also encapsulates the director’s observations of the Muslim community as an outsider. “I spent over six months at Karumbukadai, a Muslim locality in the city to understand the everyday happenings,” Bhaskaran says.
A still from Insha Allah | Photo Credit: Special Arrangement
The film is produced by his friend Shahul Hameed (under his banner Nesam Entertainment) who runs an electrical motor manufacturing unit. Bhaskaran chose death as the film’s central theme and wrote a script that touches upon the five tenets of Islam: daily prayers, giving alms(zakat), fasting during Ramadan, pilgrimage to Mecca (Haj) and profession of faith.
The protagonist is an ambulance driver played by Mogly K Mohan (who has been a part of films like Kirumi, Bakrid and Master). Poet Vikramathithan (who played a supporting role in director Bala’s award-winning film Naan Kadavul) and his wife Bhagvathi Ammal play an elderly couple in the movie. Some of the NGOs like Jeevasanthi, which performs the last rites for unclaimed bodies, and New Generation Trust — which builds homes for abandoned women, most of whom are divorcees — are also a part of the narration.
As for his experience with the community, Bhaskaran adds, “It was heart-warming. I have also filmed at the Cheraman Juma Masjid, which is believed to be the first mosque in the country. It is located at Kodungalloor in Kerala. There is also footage of the 800-year-old mosque at Keeranur, near Palani. The film is an outsider’s view of the community.”
source: http://www.thehindu.com / The Hindu / Home> Entertainment> Movies / by K Jeshi / Coimbatore – May 05th, 2021
Seeing the hardships faced by patients, the mosque committee took the decision, said Zunnoon Nomani Nomani, chief of the panel.
Lucknow, UTTAR PRADESH :
Jama Masjid (Photo| EPS/ Shekhar Yadav)
Lucknow :
The Jama Masjid in the Lalbagh area here has come forward to provide oxygen cylinders and concentrators to COVID-19 patients free of cost.
Half of the equipment have been reserved for non-Muslims.
Seeing the hardships faced by patients, the mosque committee took the decision, said Zunnoon Nomani Nomani, chief of the panel.
Nomani said, “Any needy person can come to the mosque, show his Aadhaar card and some other documents and take an oxygen cylinder or concentrator free of cost.
Fifty per cent of the oxygen cylinders and concentrators have been reserved for non-Muslims.
If needed, more help can be provided.” Nomani said initially they had only three to four oxygen cylinders.
Now, after the contribution of people, they have 50 oxygen cylinders and 25 concentrators, he said.
Nomani said whenever any person comes to donate money, he is requested to pay the amount to the seller of the equipment and send the bill via WhatsApp to the Masjid Committee.
Members of the committee collect the equipment from the seller by showing the bill, he said.
source: http://www.newindianexpress.com / The New Indian Express / Home> Nation / by PTI / May 18th, 2021
